SBRANFPOTS@aol.com on mon 17 mar 97
Folks,
I have been monitoring the recent postings about electric kiln raku and do
see the beginnings of a "mythology" thread. I did extensive research by
reading literature and practice on this very topic. Let's not spread rumor
and "facts" derived through the likes of "I heard from........It seems
like........I believe that..........It makes sense that........etc.
You will not get electrocuted by reaching into the kiln. There is no
"residual electrical energy" in the kiln chamber when the klin is shut off.
To be safe, shut off the power before you open the lid. protect yourself from
the dangerous radiant heat of the chamber, and be gentle with the kiln
hardware (lid, handles, bricks, etc.)
I hesitate to hawk my book and sound like a mercenary but for a more detailed
discussion of using an electric kiln for raku, get a copy of Raku: A
Practical Approach.
Steven Branfman
The Potters Shop
"WNTHRP::MRGATE::\"A1::CONNELLJ\""@winthrop.edu on tue 18 mar 97
I just returned from a week at Arrowmont School of Crafts (a very nice place)
teaching a Raku Workshop. I am not a "Raku Master" by any means but I have been
doing it for quite a while and have some thoughts on the subject.
I have learned that there is no ONE way to do raku and anyone who argues that
their way is better or "traditional" is full of beans. Only the original
Japanese raku is traditional. All else is a recent (37 years) innovation. I
also hear that gas is the only way to go and the traditional way. Bull, wood
fire is the traditional Japanese fuel source (remember I didn't say the best).
People will also argue about the reduction material that is most proper or
appropriate. There is so many different things that burn and all can be used and
depending on your situation some will be easier to obtain. If you like your
pots to be textured then lay them in sawdust or pine needles, if not, look for
an alternative like newspaper. Some will insist that dunking the pot in water
is necessary, others look upon that method with horror. Others get into a big
spiritual rap and bow down to the high priest of raku--there is nothing wrong or
right with that approach.
What it comes down to is-what works for you. Test out and see if the glaze,
firing and reduction method you use works for you. Read as much as you can,
observe different methods (workshops, videos, local schools etc.) and make your
own choices.
I did my first raku firings 22 years ago and we had a terrible time getting our
drip oil kiln to temperature. Once we learned how to get it to temp. (a simple
turning up of the spigot sufficed) the results where akin to sticking ones
finger down their throat. Through the years I have fired numerous kilns in my
teaching gigs and was always able to wow the students and audience with the show
and the end product. But I always kept my eyes and mind open for new methods.
About 15 years ago in grad school much to my shock I come across an
undergraduate rakuing out of an electric kiln. All my learning and bias said
NO, NO, a thousand times NO! His method was compounded by the fact the
electric's were way far away from an outside door and of course filled the whole
department with smoke. But his pieces looked great and upon closer examination
of the kilns I saw no obvious damage. This led me to ask questions and learn.
Five years later when I came south to teach at my current school I was without
(for the first time) a high fire kiln. I had to consider the possibilities. The
only kilns available where three old electrics that where ready for the garbage
pile. I remembered what I learned and decided to raku out of them and have been
using those same electric (remember they where ready for the heap) for the last
ten years. (These were the only kilns I had so I also used them for a zillion
bisgue firings as well.) I can honestly say that the raku process has not
damaged them beyond the normal wear and tear kilns go through. I always turn off
the main power before pulling and as soon as the pots are out I quickly put the
lid back on. I think (remember this is my opinion) that letting the kiln cool
down fast with out the lid on will damage the kiln. And I also think that high
firing your kiln will wear down the elements much faster than low firing raku.
The advantage or disadvantage depending on your point of view is the slowness of
the electric firing. I say the advantage but I should say the BIG advantage in
the slow firing of the electric kilns is that my glazes have ample time to go
through all the phases a glaze needs to go through to get them to melt properly.
I could expand on this, but, quickly and simply put, a glaze just can't go
through its complete cycle of drying, mudflapping, bubbling, gas release, and
settling in fifteen minutes (or even one hour). I also fire with a cone (C 08)so
I know my firings are consistent. The electrics also tend to be much more even
than a fuel source/burner that comes in from one side (or source) and since most
gas raku kilns are updrafts, they (updrafts) are notorious for uneven heat. And
when it comes to refiring pieces, nothing can replace the slow steady climb of
electric which will always help keep breakage to a minimal. I do not reload and
refire my electrics immediately but rather wait till the next day for another
firing. Is this good or bad? Hopefully you say both. Good to take your time
and get things right, bad if you want speed and flash as well as any other
reason you might think of.
Arrowmont didn't want me to use the electrics even for one demonstration firing,
citing all the known myths. And that was cool, I didn't push the issue. It was
their studio and I respect their right to say how it is used. I did find out
that my tried and true electric fired raku glazes didn't work as well in the gas
kilns. And I learned a lot more about raku by the week long experimenting I and
my students under went. One of my new theories that I will have to look into a
bit deeper is that with electrics and the slow melt, I can get my glazes to
glass up and hold the reduction so as not to have the copper flashing fade in
time. My glazes have held their copper blues and golds and brassy highlights
for years without disappearing. The same glaze in gas and the quick fire, did
not seemed to achieve that same characteristic glassines.
I have just purchased a new gas raku kiln from Ward Burners (you can't make
everything from scratch) for my university and will be teaching both methods
(gas and electric) and doing a lot of comparing and contrasting with my
students as well as myself.
I write to tell all that there is no right or wrong way to do this stuff called
pottery. A glaze that works one place might not work when given to another
person either across the nation or across town or even across the hall. We all
bring so many variables to the process that there can never be A WAY, or THE
WAY. Just keep doing that experiment thing we all know about and your way will
emerge!
Hot, Smoky and Tired,
Jim
Ken Ford on tue 18 mar 97
>----------------------------Original message----------------------------
>Folks,
>
>I have been monitoring the recent postings about electric kiln raku and do
>see the beginnings of a "mythology" thread. I did extensive research by
>reading literature and practice on this very topic. Let's not spread rumor
>and "facts" derived through the likes of "I heard from........It seems
>like........I believe that..........It makes sense that........etc.
>
>You will not get electrocuted by reaching into the kiln. There is no
>"residual electrical energy" in the kiln chamber when the klin is shut off.
>To be safe, shut off the power before you open the lid. protect yourself from
>the dangerous radiant heat of the chamber, and be gentle with the kiln
>hardware (lid, handles, bricks, etc.)
>
>I hesitate to hawk my book and sound like a mercenary but for a more detailed
>discussion of using an electric kiln for raku, get a copy of Raku: A
>Practical Approach.
>
>Steven Branfman
>The Potters Shop
Duncan has an electric top loader that has the elements encased in the
casting, can lift the lid and throw organic matter in , hmm. To quote Phill
Cornillius (while talking about gas kilns- "show no mersy!"
cheers Ken
Valued Humming Customer on tue 18 mar 97
I'm a new subscriber and I've been listening in for the last while. I'd
like to put in my 5 cents worth.
I like to do a raku firing once in a while, so I have been firing an
electric test kiln (cutters) to do small raku items. I've been doing
this for the past 5-6 years and I haven't been electrocuted yet!
I lift the cover to check the glaze melt with the power still on but
when I remove an item I make sure that the power is off. I've never had
any problems. Also, I reduce in newspapers rather than sawdust.
For larger items, I've been using an old electric paragon kiln which I
gutted and re-cemented (furnace cement) over the insulated firebricks to
stop the crumbling. There is an opening cut-out at the base of the kiln
and an opening cut on the lid for the flu (I've unscrewed the cover, off
the base, and added another handle, so it is lifted off from the top)
This kiln is fired with propane. I got a local propane co. to set-up a
nozzle and hose for me which I attach to a med. sized propane tank.- It
takes approx. one hour and 10 min. to reach a good initial glaze melting
temp. and then it's quite fast at 10-15 min. per load. (depending which
^ I want:^07,06,05,04)
I've used Steven Branfman's ideas in his book Raku: A Practical
Approach, and I've had good results. Perhaps I've shed a little light on
some who may want to try electric kiln raku firing or use an old
electric kiln to do gas firing.
Nan
jessica sletten on tue 3 feb 98
good morning! just fired another electric kiln raku load while we had
a break in the weather. is anyone out there doing electric kiln raku?
can anyone help with my questions?
80/20 glazes very successful, copper mats no luck at all. why? do
copper mats need reducing while they are firing? or, is my failure
due to improper post firing reduction. as a last resort i try a
propane torch, but the results are not great.
i got this small paragon kiln for free and have been firing it for
several years. elements are holding up quite well, considering.
thanks for any assistance.
jessie in cincinnati where it is currently sunny and mild (but we know
this won't last)
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
jeff walker on tue 3 feb 98
jessie,
try heavier post fire reduction. if it does not work let me know. I know a
guy who makes a living at raku, he well be able to answer question if this
does not work.
jeff in the mid-west
-----Original Message-----
From: jessica sletten
To: Multiple recipients of list CLAYART
Date: Tuesday, February 03, 1998 6:45 AM
Subject: electric kiln raku
----------------------------Original message----------------------------
good morning! just fired another electric kiln raku load while we had
a break in the weather. is anyone out there doing electric kiln raku?
can anyone help with my questions?
80/20 glazes very successful, copper mats no luck at all. why? do
copper mats need reducing while they are firing? or, is my failure
due to improper post firing reduction. as a last resort i try a
propane torch, but the results are not great.
i got this small paragon kiln for free and have been firing it for
several years. elements are holding up quite well, considering.
thanks for any assistance.
jessie in cincinnati where it is currently sunny and mild (but we know
this won't last)
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
Leslie Ihde on tue 3 feb 98
Jessie-
When you say you fire raku in an electric kiln, do you mean you use raku
glazes, or do you open the kiln when hot and remove ware as in useal raku?
I've done in a small electric also, always making sure to unplug it before
removing hot ware. It's fine, but takes a longer time than a propane raku
kiln since the little kiln is ancient and takes for ever to heat.
Leslie
Marie Gibbons on tue 3 feb 98
Jenny, and any others doing electric raku . . .
Raku was the first firings that I was exposed to. I really like the effects
of raku, especially the smoked black.
I bought a used electric kiln this summer - Paragon.
My question - how damaging is it to my kiln to do raku with it? I would
really like to experiment with it, but don't want to damage the kiln. The
kiln is in my laundry room, and is located about 5 feet from the back door. I
could drop pieces in a trashcan and immediately move it out the back door
pretty easily.
Any suggestions, experiences etc. would be appreciated.
Marie Gibbons
(in once again 45-50 degrees Colorado)
Estelle Renberger on tue 3 feb 98
Jessie..I do electric kiln raku and dont have trouble w/copper matts I
would be happy to share any solutions I might have with you .....send me
your email address so we dont bog down the list!
Mary Klotz on wed 4 feb 98
------------------
=3Ecopper mats no luck at all. why? do=0A=3Ecopper mats need reducing =
while they are
firing? =0A=3EI got this small paragon kiln for free and have been firing =
it
for=0A=3Eseveral years. elements are holding up quite well, =
considering.=0A=0AThe tiny
rapid fire kiln is how I got into clay- doing raku beads. I do =
matt=0Acopper all
the time in those kilns- try shorter reduction. Some glazes do=0Abetter =
taken out
at 1750=95 F. others at 1800=95 or more- so many variables. I=0Athink that =
since the
mass of the piece affects the cooling/reacting/reduction=0Atime, you have to
adjust for larger and smaller work. Or stand on your other=0Afoot.=0A=0AI =
reduce in a
sawdust filled cookie tin (expect that the neighbors think I am=0Aa horrible
cook=21)=0A=0ADon't remember the glaze recipe- it's an easy 4 ingredient, =
cup recipe.
Let=0Ame know if you want it, or others I like (trade?). Several of the =
Laguna
raku=0Aglazes have done well for me too.=0A=0AMary=0Aforesthrt =40aol.com=0A
Laurel Carey on wed 4 feb 98
Estelle Renberger wrote:
> Jessie..I do electric kiln raku and dont have trouble w/copper matts I
> would be happy to share any solutions I might have with you .....send me
> your email address so we dont bog down the list!
Please! Bog it down! Or please share it with me too....
Regards,
Laurel
Estelle Renberger on thu 5 feb 98
OK then..I'll bog it down! I have been doing electric kiln raku for
several years with a couple of small electric kilns I purchased used
especially for this purpose. Both kilns were old when I bought them and
yet I have still not had to replace an element or seen any firebrick
damage.I use the 80% copper 20% frit recipe and fire to about 1800
degrees using a pyrometer....I start the kiln on high and it takes from
2 hours to 2 1/2 hours to reach this temp.......the kiln sitter has a 6
in it to be certain it doesnt drop....I don my gloves and mask..turn the
switches off..unplug the kiln..lift the lid and get the pieces to the
reducing can as fast as possible. If you have more than one piece its
good to have a second person so they can lower the lid between pieces to
keep the temp up....I reduce in galvanized garbage cans..the smaller the
better...using newspaper for the reduction material. Colored sheets seem
to work best for me..but not the glossy ones. Leave the piece in the can
for 15-20 minutes. I dont do the plunging into water at the end..altho'
sometimes I do spray them with a water hose . My glaze application isnt
particularly thin...I dip once or apply with an old/fat makeup brush.
Anymore I can tell right when I put the piece into the reduction
material whether or not its going to turn out well....a quick ignite
w/lots of flame is a very good sign! If Im having trouble for some
strange unknown reason...and the first few pieces of the day arent
good..(sometimes this happens)...I make a wash of copper carb and water
and brush it over the piece after the glazing. It seems to work altho' I
cant imagine how much help it should be with 80% copper already in the
glaze! A fun thing to try is throwing a damp piece of fabric completely
over the top of the garbage can..(not in) before putting the lid
on.....this seems to bring out more color. I also sometimes add a little
cobalt ox ..or iron ox to the glaze for a wonderful mottled effect. I
would love to hear what works for other peple!
Virginia Gibbons on thu 5 feb 98
Mary, I would very much like to have the copper matte raku recipe that
you have used. I have never done raku but recently saw some stunning
sculptural pieces at a show done in a copper matte. Sorry I don't have
any raku to trade. Thanks.
Estelle Renberger on fri 6 feb 98
AESTHETICS '98 National Juried Art Exhibition, October, November 1998.
Sandzen Memorial Art Gallery, Lindsborg, Kansas. All media. Awards.
Catalog. Slides of work due July 1. For details, send business SASE to:
Aesthetics, 300 North Main, McPherson, Ks. 67460.
millie carpenter on fri 6 feb 98
------------------
Mary
when you raku beads, how do you keep them from sticking together when
they are glazed. I would love to do some that have the copper penny
glaze and some that have that dry looking glaze that has all the
luminescent colors in it.
Millie
Mary Klotz wrote:
=3E
=3E ----------------------------Original message----------------------------
=3E ------------------
=3E =3Ecopper mats no luck at all. why? do
=3E =3Ecopper mats need reducing while they are
=3E firing?
=3E =3EI got this small paragon kiln for free and have been firing it
=3E for
=3E =3Eseveral years. elements are holding up quite well, considering.
=3E
=3E The tiny
=3E rapid fire kiln is how I got into clay- doing raku beads. I do matt
=3E copper all
=3E the time in those kilns- try shorter reduction. Some glazes do
=3E better taken out
=3E at 1750=95 F. others at 1800=95 or more- so many variables. I
=3E think that since the
=3E mass of the piece affects the cooling/reacting/reduction
=3E time, you have to
=3E adjust for larger and smaller work. Or stand on your other
=3E foot.
=3E
=3E I reduce in a
=3E sawdust filled cookie tin (expect that the neighbors think I am
=3E a horrible
=3E cook=21)
=3E
=3E Don't remember the glaze recipe- it's an easy 4 ingredient, cup recipe.
=3E Let
=3E me know if you want it, or others I like (trade?). Several of the =
Laguna
=3E raku
=3E glazes have done well for me too.
=3E
=3E Mary
=3E foresthrt =40aol.com
=3E
Laura Conley on sat 7 feb 98
Millie,
If I may but in... You can purchase high temp wire (the thinner stuff), make
some props out of clay (make them so that they look like a stump with a notch
in
top - how to describe this???), make the beads with holes large enough to go
around the wire, place the glazed beads on the wire leaving enough space and
probably a large enough knot/twist between each bead, loop the wire loosely
around the notch in the stump (so you can lift the whole thing off), and fire.
When you are ready to take them out, just lift off the entire wire with all the
beads (leaving the notched stump). The glaze will probably cool quickly enough
so that it won't stick to the knots/twists in the wire. Each bead can then be
cut off the wire after the reduction.
This is a raku version of the electric/oxidation method that is used. I have
never tried it myself - what does anyone think - should it work?
Laura Conley
Boulder, CO
piedpotterhamelin@COMCAST.NET on mon 29 sep 03
Check this baby out-
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=2349803836&category=28124
This ebay auction maybe could be of help
Rick
> Hi Wayne
> A couple things. First, I have heard enough potters say they do raku with
> an electric kiln that I have decided it is a myth that you cannot. Raku
> might be somewhat harder on the kiln but it isn't catastrophic. Especially
> one of the kinds like Olympic's electric raku's where the lid lifts and
> keeps a lot of the heat inside it, I would think would be even easier on the
> elements. And maybe ITC. (That is, I am assuming you are not talking about
> doing the post firing reduction inside the kiln.)
>
> Second, I can understand your lament. I was just starting to get good at
> throwing when my brain went wacko from an illness, and I couldn't throw at
> all. So I turned to handbuilding instead. Sometimes I did pretty lame
> stuff when it was all my brain could handle, but there are so many ways of
> working in clay that at least there is always something you can do. Now I
> feel I might be able to throw again, but I'm so bad I can't tell if I need
> to relearn it from scratch, or just practice more, or if I really still
> can't do it. Anyway, I'm sure you will pick up new tricks pretty fast.
> Maybe you needed something to kick you out of a rut?
>
> Cindi
>
>
> ----- Original Message -----
> One cannot _do_ raku in an electric kiln.
> Not without serious damage to the kiln from
> what I gather. And my body is no longer
> able to tolerate technique that, even a few years ago,
> would have been easy.
>
> So, after ten years, I find myself back at
> square one. The throwing "skills" are still there,
> but with new clay bodies comes a need to modify
> methods for them. Firing must be relearned as
> well.
>
> ______________________________________________________________________________
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